Nigerian star Asake roared into New York Friday night for his debut at Madison Square Garden with a show in support of third and latest album, “Lungu Boy.” Asake is promoting his third album, titled Lungu Boy which is out now via EMPIRE/YBNL Nation and features appearances from Central Cee, Ludmilla, Stormzy, Travis Scott, and Wizkid.
In the lead-up to the release of ‘Lungu Boy,’ a lot of the chatter around the project hinted at Asake introducing the world to Lagos Island and the quirks of its subculture, in order to contextualize his stunning rise and his stage design and presence did just that. The evening started with a narrating explaining the experience that the crowd was going to set on with none other than Asake himself. The show opened in spectacular fashion as Asake ascended from beneath the depths of Madison Square Garden. The performance had everything from pyrotechnics to choreographed dances and visual effects.
His set Friday night at New York’s Mecca, Madison Square Garden — his debut MSG performance— saw him backed by a full band, street dancers, DJ and MC, including horns, to bring his jazz-influenced sound into a live setting. Clad in between two outfits show off his unique wardrobe style, he performed cuts from the entire album such as “Active” featuring Travis Scott, “Wave” featuring Central Cee, “Skating” which saw an elaborate display of skating and BMX biking tricks and more from the album.
In addition to performing songs from his new album on the Lungu Boy tour, Asake also performs tracks from his 2022 studio debut, Mr. Money With The Vibe(“Terminator,” “Peace Be Unto You,” “Muse,” “Joha,” “Sungba”), and its 2023 follow-up Work Of Art (“Amapiano,” “Basquiat,” “Lonely At The Top,” “Remember” and “2:30”).
In the end, it was hard for the crowd to fathom the electric show ending and even harder for Asake himself.
In true Asake fashion, he left the New York crowd with a night that they will never forget, the Lungu Boy from Lagos Island.
Women’s Day at the New York State Fair had a local flair this year, as Rochester native Danielle Ponder performed on the Chevy Court Stage. Ponder had been scheduled to perform at the fair last year, however illness forced a cancellation.
Few in the music industry have the inspirational story Danielle Ponder has. Formerly an attorney with the Monroe County Public Defender’s Office, Ponder quit her position one week sky of turning 40 years old to pursue a career in music, full time. The soul/R&B singer-songwriter has toured with George Clinton, Leon Bridges, and Marcus Mumford, performed on numerous late night television programs, and even performed at the historic Newport Folk Festival in 2023. She is currently touring in support of her 2023 release, Some Of Us Are Brave.
It was hard not to notice the grin on Danielle Ponder’s face as she took the stage at Chevy Court on Wednesday at the New York State Fair. Ponder was greeted with a roar from the crowd, many of whom had made the trek from nearby Rochester for the performance. Ponder launched into “Some Of Us Are Brave” and quickly showcased her talents to those unfamiliar with her music. Ponder’s vocals soared through out the fairgrounds, as she displayed her dynamic vocal range.
Between songs, Ponder joked with the audience regarding the serious nature of her music. “Here comes another break up song”, she joked. She told the tale of her inspirational journey to performing music full time, adding “Begin to walk and the path will appear”. And she paid homage to the local venues who supported her rise to stardum, including Funk & Waffles and The Westcott Theater.
Ponder would close the sixty minute set with a stunning rendition of Radiohead’s “Creep”. Ponder’s vocals soared through out the fairgrounds one last time, as she delivered her on take on the classic track.
The New York State Fair continues through Monday. See the remainder of the concert schedule here.
On Thursday, August 29, Brooklyn fans of the psychedelic rock genre were treated to a priceless exhibition. The heat was strong, but so was the enthusiasm of the evenings attendees. Two trio bands from different corners of the world – Balthvs and Free Whenever – were paired together so remarkably that it made one think to compliment whomever was responsible for the matter.
Free Whenever, a Brooklyn based psychedelic rock band, took the stage at 8pm sharp to a size-able crowd, nothing to sneeze at for an opening act on a Wednesday evening. The band consists of Neil Guleria on Guitar, Trevor LaVecchia on Bass, and Brendan Steuart on drums. This is not the first time the trio finds themselves opening for a big name in Brooklyn, having opened for Karina Rykman at Babies All Right late last year.
The chemistry between the gentleman is palpable both in the auditory and visual sense, and it pays off in a huge way. Playing through their entire new self-titled album, they ventured into both old and new songs that demonstrate the essence of their signature sound of psychedelic groove music. Notable highlights were “Camino“, “Sicily“, and “Jonas the Shaman” a song whom they claimed was based off the very man running their merch table in the back. With the unreleased track, “Horizons”, they went out with a thunderous hurrah, the palate was cleansed, and the stage was set.
Balthvs, a psychedelic funk triad from Columbia, graced the stage just after 9pm. Their stop on this leg of their tour not only marks their first performance in New York, but the first time the group has been on the east coast entirely. Touring to promote their new album, “Harvest“, the band consists of Johanna Mercuriana on Bass/Vocals, Santiago Lizano on Drums/Vocals, and Balthazar Aguirre on Guitar/Vocals. Balthvs, with the v pronounced like a u, made their New York debut quite memorable, guiding the evening through a lens the likes of which are quite rare.
The band boasts an impressive catalog of music for just having officially formed less than 5 years ago. 3 full length albums under their belt and 40 singles, many of which have millions of streams. The crowd was fully behind the headliners as dancing was the assignment. Balthazar mentioned in between songs that they were dining at the venues restaurant before showtime, and he saw a “Joe Russos Almost Dead Burger”. Laughs emerged amongst the audience. “I dont know if we have any heads here..hope we dont screw this up!” which was followed by a truly wonderful rendition of Grateful Dead‘s, “Bird Song”, a first for them on this tour.
One could say that their set was a masterclass in defining the root definition of what modern psychedelic music is. A myriad of global influences and style, a kaleidoscope of sound. Funk, Disco, Middle Eastern, Cumbia, Rock and Roll and so much more. The evening concluded with a final encore, long lines at the merch stand could be found for both acts. Free Whenever continues to build momentum locally. Balthvs will go on to play Austin City Limits, and then abroad to Europe and The Middle East continuing support of their new album, Harvest.
Wallows, the Los Angeles-based indie rock trio, has been captivating audiences since their formation in 2017. Made of Braeden Lemasters, Dylan Minnette, and Cole Preston, Wallows boasts a signature blend of nostalgic 90s alt-rock and modern indie-pop. Over time, they’ve consistently delivered infectious hits that have earned them both critical acclaim and a dedicated fanbase.
Their live performances are where Wallows truly shine. Known for their electric energy and dynamic stage presence, each member of the band brings something unique to the table. Their individual contributions combine to create a show that is both sonically and visually captivating. Their shows are more than just concerts—they are experiences that leave fans with lasting memories.
The Show
Wallows’ show at The Mann in Philadelphia was spectacular, showcasing the band’s growth and their connection with their audience. They created memorable moments throughout the evening, making it a night that Philly fans won’t forget.
As the show kicked off, Wallows took to the main stage with “Do Not Wait,” immediately drawing the crowd in. Braeden kept the crowd engaged throughout the night, seamlessly transitioning from talking about Philly’s national treasures to introducing “Quarterback” by joking, “If Benjamin Franklin was alive right now, I think he’d be into football. Speaking of football…” Cole then took over on vocals, and the crowd was loving every minute.
The Mann, with its expansive and almost boat-like feel (as noted by Cole), provided the perfect backdrop for Wallows’ dynamic setlist. From fan favorites like “Scrawny” and “These Days” to deeper cuts like “Drunk on Halloween,” the band delivered a performance that had the audience singing along and dancing throughout the night. One of the standout moments of the night was when Dylan made his way through the crowd during “She’s an Actress,” holding hands with fans and bringing an extra layer of intimacy to the show.
The guys surprised the crowd on the B-Stage by performing “Ground,” a song they hadn’t played on the Model Tour until now. They followed this with a haunting rendition of “Drunk on Halloween,” which further cemented the band’s ability to captivate their audience with both their sound and their presence.
As the band transitioned back to the main stage, they brought the night to a close with a powerful sequence of songs, including “Worlds Apart,” during which Braeden made his way back through the crowd, and the crowd-favorite “Are You Bored Yet?” The energy in the venue was palpable, with fans singing every word and savoring every moment.
Looking Forward
If you missed Wallows on this tour , don’t worry—you can catch them when they’re in New York. Their live shows are an unforgettable experience, and this band is only getting better with time. Catch them live, and be prepared for a night full of incredible music, memorable interactions, and an atmosphere that will stay with you long after the last note has been played.
Setlist:
Main Stage Do Not Wait, Your Apartment, [Anytime, Always], Scrawny, Don’t You Think It’s Strange, Quarterback, Bad Dream, These Days, You (Show Me Where My Days Went), At the End of the Day, Just Like a Movie, A Warning, Uncomfortable, She’s an Actress
B Stage Pictures of Girls, Ground (Tour debut), Drunk on Halloween Main Stage Worlds Apart, Pleaser, Calling After Me, Remember When, I Don’t Want to Talk, Are You Bored Yet?
Article photos by Emma Wannie, Gallery photos by Chloe Dugord
On Saturday, August 24th, the LIMEHOF celebrated the induction of three iconic DJs: Davy DMX, DJ Hurricane, and DJ Jazzy Jay. The event was a tribute to their contributions to hip-hop and the music industry, filled with heartfelt speeches, special performances, and an outpouring of admiration from peers and fans alike.
Davy DMX, Kurtis Blow and DJ Hurricane at the LIMEHOF
Before the induction ceremony, I had the opportunity to ask them a few questions about their careers and perspectives on hip-hop. Kurtis Blow, who was present to induct Davy DMX, also shared his thoughts.
DJ Hurricane, known for his pivotal role in shaping the Beastie Boys’ sound, reflected on his contributions. He described his style as “b-boyish” and “hip-hop,” explaining that he brought a swag and attitude that complemented the group, especially since MCA was the only member from Brooklyn. Hurricane reminisced about the early days, recalling their first meeting at the Def Jam office, although it felt like they had known each other forever. He also discussed the evolution of hip-hop, pointing out that today’s shorter verses and lack of recognition for DJs mark a significant shift from the past.
Kurtis Blow at LIMEHOF
Kurtis Blow, one of hip-hop’s pioneers, expressed his love for the genre, which has been his life for the past 50 years. He encouraged young artists to stay positive and continue to inspire change, emphasizing the importance of returning to hip-hop’s roots of peace, unity, love, and fun. His message was one of hope, urging the new generation to use hip-hop as a tool for global change.
Davy DMX, reflecting on his role as a DJ and producer, stressed the importance of keeping the art of scratching alive. He acknowledged the incredible heights that DJing has reached but emphasized that DJs must remain a central part of hip-hop culture.
DJ Johnny Juice at LIMEHOF
The night kicked off with DJ Johnny Juice taking the stage alongside the honorees, showcasing the skills that have made him a respected figure in the DJ community. Although DJ Jazzy Jay couldn’t attend due to a personal emergency, DJ Johnny Juice graciously accepted the award on his behalf, honoring the legacy of the pioneering DJ.
Davy DMX and Kurtis Blow at LIMEHOF
One of the highlights of the evening was Kurtis Blow’s appearance to induct his longtime friend and collaborator, Davy DMX. In his speech, Kurtis Blow delivered a heartfelt tribute, reminiscing about their early days in Hollis, Queens, and their unforgettable performances, including a legendary night at the Apollo. He credited Davy DMX as a crucial part of his success, particularly for stepping in as his DJ on tour after Run-DMCâs Joey broke his arm. Kurtis praised Daveyâs skills on the turntables and expressed deep gratitude for his unwavering support throughout their global travels. The speech culminated in a powerful moment as Kurtis Blow performed his classic hit, “The Breaks,” to the delight of the audience.
DJ Hurricane and Wife Dawn at LIMEHOF
DJ Hurricane’s induction was equally touching, with his wife, Dawn, taking the stage to honor her husband. She spoke passionately about his impressive career, which began in 1977 and saw him collaborate with legends like Run-DMC, The Beastie Boys, and Davy DMX. Dawn highlighted the challenges Hurricane faced, particularly as a DJ for an all-white group during the early days of hip-hop, and expressed her admiration for his resilience and contributions to the genre. Her words resonated with the crowd, underscoring the impact Hurricane has had on hip-hop culture.
The evening was a powerful reminder of the lasting influence of these legendary DJs, who have shaped the sound and spirit of hip-hop for decades. The LIMEHOF induction ceremony was not only a celebration of their achievements but also a recognition of their contributions to the music world and beyond).
Legendary blues rock guitarist and New York native, Joe Bonamassa brought his “Blues Deluxe Summer Tour” to the historic Capitol Theatre in Port Chester. Most recently, Bonamassa released his newest effort Live At The Hollywood Bowl With Orchestraearlier this summer. Friday, Aug. 26 was the first of two back-to-back nights that Bonamassa rocked the “Original Rock Palace.”
With fans finding their seats in the nearly 100-year-old venue, Bonamassa and his band graced the stage and jumped right into “Hope You Realize” off of Bonamassa’s Blues Deluxe Vol. 2record. Since there was no opener this evening, it left the band with more time to play for their fans. From the moment the 11-piece band plugged their instruments in, their sheer power overtook the fans. For a blues band, they were certainly loud, but in the best way possible. The classic blues rock rang like joyful noise during the two-hour performance.
The official music video for Joe Bonamassa’s “I Want To Shout About It”
Bonamassa was firing on all cylinders. From the vocals to the guitar playing to his stage presence, he had it all. From the little he spoke during the night, he made up for it during his guitar masterclass. Watching Bonamassa play took the breath out of some fans’ bodies as they watched in awe. Some people in the crowd were recording on their phones while others air-guitared. Some simply watched stunned by the guitar hero in front of them.
Bonamassa’s backing band consisted of a horn section featuring saxophones and trumpets, three backing singers in addition to the drums, bass, rhythm guitar and keyboards. Within the band, the musicianship was top-notch. They all played their part and had a welcoming sound to them. At one point in the show, Bonamassa called his band family and that he respects them the most. To see a leader like Bonamassa praise the band behind him was amazing to see.
Within the band, the musicians as individuals were spectacular. The horn section added a uniqueness to the band while the backup singers added more beefiness to the vocals. At one point in the show, singer Jade MacRae had a solo during “Self Inflicted Wounds.” Listening to her vocals sent chills up and down the spines of the audience who cheered and applauded at the end.
For those who don’t know all the individual members of Bonamassa’s band, on percussion, to his left sat Reese Wynans. Wynans is a Rock and Roll Hall of Famer with Stevie Ray Vaughan & Double Trouble. When he was introduced, the audience all rose to their feet to pay respects to the legendary keyboardist. But, throughout the night, Wynans was spinning back and forth on the keyboard giving the performance of a lifetime.
The show flowed effortlessly as each song slowly transitioned into the next. With each new song, came an even flashier guitar from Bonamassa who changed guitars for what seemed like every song. During a few songs, he would sport a beautiful Les Paul while other times it would be a classic telecaster or a gorgeous red Gibson. It did not matter which guitar was on stage because, by the end of the song, Bonamassa delivered an emotionally beautiful solo.
While the band was setting up for the next song, Bonamassa took the time to say a proper hello to the audience and clarify that he is a New York native which brought a cheer from the audience. Bonamassa then proceeded to thank everyone for showing up to a homecoming show. It seemed that once he acknowledged he was in front of his home state’s audience, then the show got even better. There was a sense of the audience also acknowledging that the legendary guitarist was playing in a legendary venue and it made for a spectacular rest of the evening.
The entire night of Joe Bonamassa and his band at the Capitol Theatre was one of the best ways to close out the summer concert season.
Of the seven shows that remain on Bonamassa’s schedule, four are in New York. On Saturday, Aug. 24 he’ll be right back at the Capitol Theatre which is followed by a date in Rochester on Aug. 25 and Albany on Aug. 27. If you are a fan of blues rock and roll then you have to go see Bonamassa. It was a magical night of nothing but essential blues music.
Joe Bonamassa Setlist: Hope You Realize, You Upset Me, 24 Hour Blues, Done Got Over It, Self Inflicted Wounds, I Want To Shout About It, Last Matador of Bayonne, Breaking Up Someone’s Home, Heart That Never Waits, Is It Safe To Go Home, See See Baby, Humming Bird, Hard But It’s Fair, Mountain Time
Rising country music star Warren Zeiders performed on the Suburban Park Stage at the New York State Fair in Syracuse on Thursday, August 22. The Hershey, Pennsylvania native was celebrating the release of his second full length album, Relapse (released on August 23).
Anticipation built as the minutes clicked down to Zeiders’ arrival. The barricaded area around the stage was filled to capacity well in advance of showtime, and a sprawling crowd stretched back into the fields which separated the Suburban Park stage from the hustle and bustle of the fair’s midway.
At promptly 8pm, Zeiders burst on to stage and wasted no time getting the party started. Zeiders opened with the unreleased track “Take it to the Grave” which showcased his gritty vocals and high energy stage presence. Zeiders worked each side of the stage, often pausing to wave and greet the fans up front. Early in the set, Zeiders pushed his new material, performing several tracks off the Relapse album.
At just 24 years old, Warren Zeiders is proving to be a master in his craft. New tracks like “Intoxicated” and “Betrayal” proved to hold just strong as the rest of his growing catalog. Those in attendance were already familiar with the lyrics to the new tracks and sang along to every word. However, the biggest sing along this evening was when Zeiders performed “Pretty Little Poison”, a track which spent several weeks at the top of Billboard’s Country Music Airplay chart earlier this year. The crowed belted back the song’s anthemic chorus and waved lighters and cellphone lights in the air, illuminating the area and giving perspective to the sea of fans that had gathered.
After a sixty minute set and a brief break, Zeiders and his band returned to the stage for an encore, which saw the band cover the Alice in Chains classic, “Man in the Box”. The song may sound like a surprising choice to hear at a country concert, but it fit in well with Zeiders’ sound.
The New York State Fair continues through September 2. See a list of upcoming concerts here.
Dead & Co’s residency at the Sphere in Vegas may be over for now, but the music of the Grateful Dead most certainly hasn’t faded away from concert stages across the country as myriad tribute, cover, and legacy acts continue to perform in the final weeks of summer.
Dark Star Orchestra may well be the best Dead-music band that is currently touring, and the 1,500-plus dancing heads at Schenectady’s Frog Alley on Thursday, August 22 seemed to be in agreement that DSO are venerable interpreters of the genre.
DSO’s faithful and sequential recreations of notable Grateful Dead setlists and their dedication to performing with period-authentic instruments and equipment set them far apart from typical tribute acts. This is as close as you’re going to get to a late-70s Dead set, short of a time machine.
Thursday’s DSO show featured The Grateful Dead’s 5-5-78 setlist, originally performed in Thompson Arena at Dartmouth College. The two sets were relatively typical of the era, as the Dead balanced Chuck Berry rock with pastoral psychedelia, Americana, jazz-rock, balladry, and an occasional disco groove in the rhythm section.
DSO also played a 1978 show at the Adirondack Independence Music Festival last year up in Lake George. I was hip to the fact that Thursday’s show was going to mine late-70s territory as soon as Jeff Mattson (who plays the Jerry Garcia role in DSO) strapped on his Travis Bean guitar – the same model Jerry played in 1976 and 1977 (he was playing Wolf by ‘78). Mattson was in fine form all night, faithfully modeling his tone and soloing techniques on Garcia’s.
The show opened with “Promised Land”, which featured the outstanding vocals of Rob Eaton, who just embodies the bandleader and rhythm guitar rocker Bob Weir became in the later 70s and throughout the 80s for the Dead. It’s also delightful to hear that vintage Ibanez rhythm guitar tone. I love Ace, but I’m not crazy about the wild trebly, metallic guitar tone he uses in Dead & Co.
“Dire Wolf” may have been the biggest singalong number of the night and “Cassidy” was the first where the band’s slinky contrapuntal interplay was on full display. DSO, much like the original Dead is a true ensemble, and the collective improvisation of Mattson, Eaton, and keyboardist Rob Barraco stood out on this Weir/Barlow classic.
Other highlights of the first set included “Candyman” from American Beauty, and a top-notch “They Love Each Other” that featured solos by both Mattson and Barraco. And while this reviewer might prefer “Brown-Eyed Women” to “Lazy Lightnin’/Supplication” it was this latter medley that ended the first set with one of the best jams of the entire night.
The second set kicked off with a duo of good-time rockers (“Bertha” and “Good Lovin’”) and then the first of two second-set Jerry ballads, a faithful rendition of “Ship of Fools”.
It was the Estimated > Eyes, though, that was the hightlight of the entire show. Eaton nailed the Weir vocals on “Estimated Prophet” while Mattson dialed up the Mu-Tron to great effect. “Eyes of the World” remains one of the superlative Dead vehicles in terms of the song’s jam possibilities and also in the way that the elegantly jazz-leaning chord progression matches the beauty of the lyrics. Mattson seems to be at his best when he really leans into the jazzy elements of Garcia’s playing. Bassist Skip Vangelas (who was excellent, clear, and loud all night in his Phil-role) was also featured in “Eyes” and took a melodic solo.
I’ll admit that these days I’m all-in on the Dead & Co “Drums/Space” in large part because of Mickey Hart’s beam and use of electronics. For me, it’s never a bathroom break opportunity. DSO drummers Dino English and Rob Koritz reminded me that a more analog version of drums isn’t necessarily a bad thing. Koritz’s use of steel drum and a crew of roadies on various percussion instruments coupled nicely with English’s kit playing. Mattson and Barraco then took the stage for a very short “Space” that left me wanting more. While John Meyer certainly might have more “chops” than Mattson, I’ll take the ole Zen Trickster Mattson over Meyer on “Space” any day of the week. Mattson wore a rad purple John Coltrane t-shirt at the show, and his otherworldly “Close-Encounters”-tease into “space-jazz-rock” certainly paid homage to Coltrane’s later free era. Give me 10 more minutes of that next time, Jeff!
“Not Fade Away” was a great reminder that bands like DSO are carrying the torch so that new generations will hear this very vital and living music, and “Stella Blue” featured some of Mattson’s finest vocals of the evening on one of the Dead’s most sensitive ballads. The set closed with a rockin’ “Around and Around” which put Eaton back in the role of showman extraordinaire.
The encores were particularly fun covers. Warren Zevon’s “Werewolves of London” had what remained of the weeknight crowd howling at the moon. The Dead set was complete, but DSO had a few more minutes until curfew, so the band went off-script and launched into The Jefferson Airplane’s “White Rabbit” finally giving backing vocalist Lisa Mackey a chance to take the lead. Mackey is in many ways the heart and soul of DSO. Her dancing, energy, and excellent harmony vocals are always a pleasure to watch, so it was particularly uplifting to hear her crush the Grace Slick part. Let Lisa sing!
Summer may be coming to a close, but that just means that it’s time to start planning for fall and winter indoor shows. Dark Star Orchestra has many shows planned around the state this fall and just announced that they are returning to the legendary Capitol Theatre in Port Chester for a New Year’s run on December 30 and December 31. They’re sure to keep the Dead alive in 2025 too.
A word or two about the Frog Alley venue, since this is still a relatively new Capital Region venue. The place has great beer (I tried a Kolsch that paired nicely with a cool summer night), they have a wealth of food truck options, and the raised stage means most vantage points are good ones. There’s also a VIP option which gives you deluxe bathroom access, tent access, and balcony options, which looked particularly nice if you got there early to grab seating. The sound was also stellar (and I give some of the credit to DSO’s own board operator because the mix was superb). My only gripe at all is that GA concertgoers had to wait in relatively long lines for the porta potties and hopefully more can be added to future events of this capacity. Parking wasn’t bad if you got there early enough and I was on the road and out of town in a jiffy. Definitely looking forward to getting back to Frog Alley for Band of Horses/City + Colour on Friday, September 13.
Finally, I have to give an honorable mention to the dude in front of me who had the best shirt of the night. His maroon and white “Stealie’s Shops” shirt in Stewart’s Shop typography has to be about the best Capital Region-specific Shakedown shirts I’ve ever seen. I want one!
Dark Star Orchestra | August 22, 2024 | Frog Alley Summer Stage | Schenectady, NY
Set I: Promised Land, Dire Wolf, Cassidy, Candyman, El Paso, They Love Each Other, Passenger, Brown Eyed Women, Lazy Lightnin’, Supplication.
Set II: Bertha, Good Lovin’, Ship of Fools, Estimated Prophet, Eyes of the World, Drums > Space, Not Fade Away, Stella Blue, Around and Around.
Encore: Werewolves of London, White Rabbit *
* Not part of the original Grateful Dead show on 5-5-78.
Continuing his Soho Sessions residency, Grammy-nominated singer and guitarist Marcus King returned to the iconic Stephen Talkhouse in Amagansett for a special performance on August 21. Known for his soulful voice and electrifying guitar work, King brought his unique blend of blues, rock, and southern soul to an intimate audience, making the night unforgettable.
Marcus King at Stephen Talkhouse
The Soho Sessions, a premier music-driven community, has built a reputation for curating extraordinary live music experiences in both New York City and the Hamptons. What makes these sessions stand out is not just the incredible music but the cause behind them. More than just a good time, these performances support organizations such as God’s Love We Deliver, a distinguished charity dedicated to providing nutritious, medically tailored meals to individuals too sick to shop or cook for themselves.
Before the show, I had the opportunity to speak with Greg Williamson and Nicole Rechter, the co-founders of Love Rocks. They shared their passion for combining music with philanthropy, explaining that while Love Rocks, their annual benefit concert at the Beacon Theatre, is a major event, Soho Sessions allow for more frequent, intimate performances. These sessions, often featuring notable artists like Gary Clark Jr. and Warren Haynes, bring the music closer to the fans while continuing to support important causes like God’s Love We Deliver.
Greg Williamson, Nicole Rechter and Stephen Covello
Stephen Covello, Chief Philanthropy Officer at God’s Love We Deliver, provided deeper insight into the organization’s mission. Founded in 1985 by Gonga Stone, God’s Love We Deliver began as a response to the AIDS crisis, providing meals to those too ill to cook. Today, the organization has expanded its reach, delivering medically tailored meals to individuals with over 210 different diagnoses, including cancer, Alzheimer’s, and HIV/AIDS. As they approach their 40th anniversary, God’s Love We Deliver has delivered 4.3 million meals, a testament to their impact and commitment.
Marcus King
Marcus King’s performance at Stephen Talkhouse was nothing short of spectacular. He delivered soulful renditions of his songs like “Wildflowers and Wine” and “Hero,” as well as crowd-pleasing covers of classics like “The Weight” and “Can’t You See.” Marcus King was joined by his drummer, Jack Ryan, a key member of the Marcus King Band, who brought his signature groove to the performance and Eric Folder on bass.
The night was a perfect blend of music, community, and charity, highlighting the power of live music to bring people together for a greater cause. As Marcus King continues his Soho Sessions residency, it’s clear that these performances are about more than just entertainmentâthey’re about making a difference.
Setlist: It’s Too Late, Scuttle Buttin, Rolling & Tumblin, Sins A Good Man’s Brother, Aim High, Hero, One Day She’s Here, Killing Floor, Pain, Save Me, Always, Manic Depression, Fallin For The Devil, Lie, Lie, Lie, Wildflowers & Wine, The Weight, Can’t You See
Glass Animals transformed Madison Square Garden into a surreal, psychedelic dreamscape on Tuesday, August 13th, delivering a performance that will be etched into the minds of fans for years to come.
The energy in the venue was electric from the moment the lights dimmed, with a sold-out crowd buzzing with anticipation. As the band took the stage, the roar of the audience was deafening, setting the tone for an unforgettable night.
The setlist was heavily focused on tracks from their latest album, I Love You So F**ing Much*, with the band seamlessly blending these new hits with their classic tracks. The crowd erupted as they launched into “On The Run,” the funky beats and infectious rhythm perfectly encapsulating the essence of the album. Every song was met with an explosion of cheers, but it was “Space Ghost Coast to Coast” that really brought the house down, with fans singing along to every word.
The creative visuals of the set were nothing short of spectacular, adding a whole new dimension to the performance. A holographic pineapple, a nod to their iconic imagery, hovered on the stage, rotating slowly and casting vibrant, multicolored lights across the venue.
The real showstopper, however, was the Saturn-like planet that levitated above the band, spinning gracefully and seemingly defying gravity. The ethereal visuals, combined with the band’s high-energy performance, created an otherworldly atmosphere that left the audience mesmerized.
The interplay between the band and the crowd was palpable, with lead singer Dave Bayley frequently interacting with the audience, feeding off their energy, and encouraging them to dance and sing along. It was clear that the band was having as much fun as the fans, with their infectious enthusiasm spreading throughout the arena.
As the night drew to a close, the band returned for an encore, ending with a stunning rendition of “Heat Waves.” The entire venue was bathed in a warm, golden glow as the crowd swayed in unison, their voices joining together in a powerful chorus. It was a perfect ending to a night that felt like a celebration of music, creativity, and the unbreakable bond between Glass Animals and their fans.
Madison Square Garden has hosted countless legendary performances over the years, but last night, Glass Animals carved out a space all their own, leaving a lasting impression on everyone lucky enough to be there.
